JAN VAN KESSEL THE ELDER | A SCULPTED CARTOUCHE WITH FLORAL STILL LIFE, WITH THE CHRIST CHILD AS SALVATOR MUNDI
Estimate: 15,000 - 25,000 GBP
Property from the SØR Rusche Collection
JAN VAN KESSEL THE ELDER
Antwerp 1626 - 1679
A SCULPTED CARTOUCHE WITH FLORAL STILL LIFE, WITH THE CHRIST CHILD AS SALVATOR MUNDI
signed lower left: J van kessel
oil on oak panel, with the mark of the panelmaker François de Bout (active 1637 – 1649)
unframed: 39.7 x 28 cm.; 15⅝ x 11 in.
framed: 53 x 41 cm.; 20¾ x 16¼ in.
Please see shipping calculator link: click here.
The panel is uncradled, flat and stable. The paint surface is secure and clean, with a clear and even varnish. There are no major damages visible to the naked eye. Inspection under ultraviolet light reveals very little, as the varnish fluoresces opaquely, not allowing for inspection of any previous restoration. The panel appears, however, to be in overall very good condition.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Anonymous sale, London, Sotheby's, 7 April 1982, lot 160;
Private collection, Europe;
Whence sold, London, Christie's, 8 December 1995, lot 40, when acquired.
A. Blankert et al., Jezus in de Gouden Eeuw, exh. cat., Zwolle and Rotterdam 2000, p. 49, reproduced in colour;
H.-J. Raupp (ed.), Niederländische Malerei des. 17. Jahrhunderts der SØR Rusche-Sammlung, vol. 5, Stilleben und Tierstücke, Münster/Hamburg/London 2004, pp. 150–53, cat. no. 30, reproduced in colour (as Jan van Kessel and Erasmus Quellinus the Younger);
W. Pijbes, M. Aarts, M. J. Bok et al., At Home in the Golden Age, exh. cat., Zwolle 2008, p. 113, cat. no. 115, reproduced in colour;
K. Ertz and C. Nitze-Ertz, Jan van Kessel der Ältere 1626–1679. Kritische Katalog der Gemälde, Lingen 2012, p. 343, cat. no. 591, reproduced p. 342.
Rotterdam, Kunsthal, Jezus in de Gouden Eeuw, 9 September 2000 – 7 January 2001, unnumbered;
Rotterdam, Kunsthal, At Home in the Golden Age, 9 February – 18 May 2008, no. 115.
The SØR Rusche Collection has been exhibited extensively over the last two decades. Please click here for further information.
Jan van Kessel was a member of the great Brueghel dynasty and spent his life in Antwerp. The grandson of Jan Brueghel the Elder, Van Kessel took much inspiration from his relation’s work. Jan Brueghel the Elder was a pioneer in the development of the genre of garland paintings, which grew out of the imagery of the Counter-Reformation. The floral still lifes typically surround a devotional image or portrait, executed in collaboration with a figure painter.
It has been suggested that the author of the Christ Child here may be Erasmus Quellinus the Younger, pupil of Sir Peter Paul Rubens.
Van Kessel also collaborated with his uncle, David Teniers the Younger - interestingly the mark on the reverse of this panel indicates that it was made by the Antwerp panelmaker, François de Bout (active 1637–1649), who is known to have provided many of Teniers’ panels.